Lene B. Petersen
Shakespeare's Errant Texts
Textual Form and Linguistic Style in Shakespearean 'Bad' Quartos and Co-Authored Plays
Lene B. Petersen
Shakespeare's Errant Texts
Textual Form and Linguistic Style in Shakespearean 'Bad' Quartos and Co-Authored Plays
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Using case studies of Hamlet, Romeo and Juliet and Titus Andronicus, this book examines what constitutes a 'Shakespearean text'.
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Using case studies of Hamlet, Romeo and Juliet and Titus Andronicus, this book examines what constitutes a 'Shakespearean text'.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 332
- Erscheinungstermin: 18. Oktober 2011
- Englisch
- Abmessung: 235mm x 157mm x 22mm
- Gewicht: 633g
- ISBN-13: 9780521765220
- ISBN-10: 0521765226
- Artikelnr.: 29010784
- Herstellerkennzeichnung
- Books on Demand GmbH
- In de Tarpen 42
- 22848 Norderstedt
- info@bod.de
- 040 53433511
- Verlag: Cambridge University Press
- Seitenzahl: 332
- Erscheinungstermin: 18. Oktober 2011
- Englisch
- Abmessung: 235mm x 157mm x 22mm
- Gewicht: 633g
- ISBN-13: 9780521765220
- ISBN-10: 0521765226
- Artikelnr.: 29010784
- Herstellerkennzeichnung
- Books on Demand GmbH
- In de Tarpen 42
- 22848 Norderstedt
- info@bod.de
- 040 53433511
Lene B. Petersen's work centres on Shakespearean textual studies, corpus linguistics/authorship and attribution studies and Renaissance theatre history. She has also written on traditional folk ballads and their transmission.
Foreword; Prologue; Part I. Oral-Memorial Transmission and the Formation of
Shakespeare's Texts: 1. The Elizabethan dramatic industry and industrious
Shakespeare; 2. Decomposing the text: oral transmission and the theory of
the Zielform; 3. The popular play and the popular ballad: evidence of
'Quarto mechanics' in the multiple texts of Hamlet and Romeo and Juliet;
Conclusion Part I; Part II. Recomposing the Author: Some Tools for
Positioning the Role of the Playwright in Dramatic Transmission: 4.
Introduction to quantitative textual analysis: computational stylistics,
cognition and the missing author; 5. Stylometry and textual multiplicity I:
contextual stylistics and the case of Titus Andronicus; 6. Stylometry and
textual multiplicity II: testing the grading between authorship and
'orality' in the scenes of Romeo and Juliet and Hamlet; Conclusion Part II:
evaluating the experiment; Epilogue; Appendix I. Scenic units in Q1
Hamlet/Der Bestrafte Brudermord and Romeo and Juliet/Romio und Julietta;
Appendix II. 'Meet it is I set it downe': verbal evidence of Quarto
mechanics in the short versions of Hamlet and Romeo and Juliet; Appendix
III. Chapter 4: table of results for 257-Plays DA, using 50 principal
components; Appendix IV. Examples of principal component screen plots for
three-text Hamlet by scenes and three-text Romeo and Juliet by scenes only;
Bibliography.
Shakespeare's Texts: 1. The Elizabethan dramatic industry and industrious
Shakespeare; 2. Decomposing the text: oral transmission and the theory of
the Zielform; 3. The popular play and the popular ballad: evidence of
'Quarto mechanics' in the multiple texts of Hamlet and Romeo and Juliet;
Conclusion Part I; Part II. Recomposing the Author: Some Tools for
Positioning the Role of the Playwright in Dramatic Transmission: 4.
Introduction to quantitative textual analysis: computational stylistics,
cognition and the missing author; 5. Stylometry and textual multiplicity I:
contextual stylistics and the case of Titus Andronicus; 6. Stylometry and
textual multiplicity II: testing the grading between authorship and
'orality' in the scenes of Romeo and Juliet and Hamlet; Conclusion Part II:
evaluating the experiment; Epilogue; Appendix I. Scenic units in Q1
Hamlet/Der Bestrafte Brudermord and Romeo and Juliet/Romio und Julietta;
Appendix II. 'Meet it is I set it downe': verbal evidence of Quarto
mechanics in the short versions of Hamlet and Romeo and Juliet; Appendix
III. Chapter 4: table of results for 257-Plays DA, using 50 principal
components; Appendix IV. Examples of principal component screen plots for
three-text Hamlet by scenes and three-text Romeo and Juliet by scenes only;
Bibliography.
Foreword; Prologue; Part I. Oral-Memorial Transmission and the Formation of
Shakespeare's Texts: 1. The Elizabethan dramatic industry and industrious
Shakespeare; 2. Decomposing the text: oral transmission and the theory of
the Zielform; 3. The popular play and the popular ballad: evidence of
'Quarto mechanics' in the multiple texts of Hamlet and Romeo and Juliet;
Conclusion Part I; Part II. Recomposing the Author: Some Tools for
Positioning the Role of the Playwright in Dramatic Transmission: 4.
Introduction to quantitative textual analysis: computational stylistics,
cognition and the missing author; 5. Stylometry and textual multiplicity I:
contextual stylistics and the case of Titus Andronicus; 6. Stylometry and
textual multiplicity II: testing the grading between authorship and
'orality' in the scenes of Romeo and Juliet and Hamlet; Conclusion Part II:
evaluating the experiment; Epilogue; Appendix I. Scenic units in Q1
Hamlet/Der Bestrafte Brudermord and Romeo and Juliet/Romio und Julietta;
Appendix II. 'Meet it is I set it downe': verbal evidence of Quarto
mechanics in the short versions of Hamlet and Romeo and Juliet; Appendix
III. Chapter 4: table of results for 257-Plays DA, using 50 principal
components; Appendix IV. Examples of principal component screen plots for
three-text Hamlet by scenes and three-text Romeo and Juliet by scenes only;
Bibliography.
Shakespeare's Texts: 1. The Elizabethan dramatic industry and industrious
Shakespeare; 2. Decomposing the text: oral transmission and the theory of
the Zielform; 3. The popular play and the popular ballad: evidence of
'Quarto mechanics' in the multiple texts of Hamlet and Romeo and Juliet;
Conclusion Part I; Part II. Recomposing the Author: Some Tools for
Positioning the Role of the Playwright in Dramatic Transmission: 4.
Introduction to quantitative textual analysis: computational stylistics,
cognition and the missing author; 5. Stylometry and textual multiplicity I:
contextual stylistics and the case of Titus Andronicus; 6. Stylometry and
textual multiplicity II: testing the grading between authorship and
'orality' in the scenes of Romeo and Juliet and Hamlet; Conclusion Part II:
evaluating the experiment; Epilogue; Appendix I. Scenic units in Q1
Hamlet/Der Bestrafte Brudermord and Romeo and Juliet/Romio und Julietta;
Appendix II. 'Meet it is I set it downe': verbal evidence of Quarto
mechanics in the short versions of Hamlet and Romeo and Juliet; Appendix
III. Chapter 4: table of results for 257-Plays DA, using 50 principal
components; Appendix IV. Examples of principal component screen plots for
three-text Hamlet by scenes and three-text Romeo and Juliet by scenes only;
Bibliography.